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The music of Diablo II and Diablo IV: What makes Diablo music an unforgettable soundtrack?

(I wrote this text in Spanish, and with the help of Google I have translated it into English. I apologize in advance to english readers)

I have decided to write this small opinion/analysis, taking advantage of the disposition Blizzard is having at this moment to listen to the feedback that the community has, and thus influence the development of our desired and real successor to Diablo I and II: Diablo IV . And in my opinion, the soundtrack we experience when we play the first 2 games of the franchise was simply unforgettable and has marked a whole generation, however, it is worth mentioning that it is not only the genius of its compositions what makes it a good soundtrack.

So. What makes the soundtrack of Diablo II a good soundtrack?

To address the topic of music in Diablo, we must shred it from a musical, technical and narrative perspective (in my opinion).
I will limit myself to analyzing the soundtrack of Diablo II (and its expansion) only, since it is the game that I have played for more than 15 years and I think I understand some of the successes that Matt Uelmen and the team had at the time of working in the game audio

1.- The technical:

I think that one of the most decisive parameters in this part is the relationship of volume levels with music and SFXs. After playing some ARPG titles (trying to fill the lack of not having a Diablo II updated to 2020 standards) I found a common factor: High prominence in sound effects, and low in music (speaking of the volume levels). And is that when you are playing Diablo II the music simply does not go unnoticed, due to the high volume that it has and that gives it a leading role, before you realize how great it can be.

So, the music of Diablo II is very important in the concept of the game (regardless of its musical content), because at that volume level, it is always present, in any corner of the universe, and therefore it is impossible not to evoke some kind of sensation/feeling. Not only in the exciting moments of combat or exploration, but also when we are meeting the characters and their particular stories. This is very important so that nothing takes us out for any second of our immersive state. What is most important, right?

Ok, so that's how I found myself configuring the audio from the options menu in the other ARPG games I've played, to satisfy this need to listen to the soundtrack (which is very shy in several other games ... so shy that I must download all the other audio sliders to 20% or 10%, and leave the music slider at 100% so that something is really heard and the music helps me to get into the universe that they are offering me), since I don't agree with music (in Diablo) being like a background layer that you don't always notice. On the opposite .. Diablo's music has a great desire to invade your head, either to evoke nostalgia, terror, or action.

Basically, the task of music MUST be to complete the story and not only accompany it, and that is why it must be considered as important as the rest of the audio experience. Diablo II has no qualms about putting the music in front of your face, and well .. if you want you can lower the volume later. But I doubt it :P

2.- The narrative and musical:

These two aspects inevitably go hand in hand, because the level of musical development that the soundtrack has throughout the game, ends up becoming a story, a story with its own language. The language of music and sounds, the language of emotions and states of consciousness.

I can't stop being surprised at the level of depth that I find when I listen to the soundtrack of this game. The amount of details, textures and things that are happening at the compositional level as a song progresses, moves me. The way they present us with a desolate world, approached musically from nostalgia, the exotic, the dark and the glorious ... and how as we progress in the game we can listen and taste the mystery, uncertainty and fear set in the particular aesthetics of each location, it is remarkable.

I think there is something that Diablo IV must understand. And it is that the terrifying music does not work for non-terrifying moments. The rawness and darkness in music is not synonymous with terror and silence. Terror is slowly built. I cannot start something from terror without knowing the context, nor connect with it at emotional levels first. This is how Diablo II builds that propensity for terror in me, making me more sensitive to his world from the guitar and nostalgic chords (act 1), rather than passing directly to the demonic cathedral voices.

Let the terror and silence for moments that are really terrifying like facing something unknown, uncomfortable and very unpredictable. So we leave the clich├ęs, and we get in tune as we move forward while maintaining the immersion (Less silence and more musical stories in the first minutes of the game).

.. The authenticity of the soundtrack should be something important to consider as well. I think that in this sense Diablo II was lucky to meet Matt Uelmen along the way, who I deduce had a great musical restlessness by mixing such diverse styles, such as folk with industrial, giving it a dark ambiance touch, which determine the Seal or identity of the soundtrack: Guitars, percussion and strange and uncomfortable textures.

I have nothing against ambient music alone, but I think Diablo IV should not be based primarily on slow, long, and atmospheric melodies/chords (especially at the beginning). I feel that this is the most obvious resource and that at the same time the role that music must play in this franchise is lowered, sometimes it is not only the volume (as I said previously), it is the low development of the composition what fails ..

In regards to this, a parameter that I once heard in Game design comes to mind and is called: Awesomeness per second. I guess it is not necessary to explain what this means in detail, but that is what I mean when I talk about the compositional development that the music of Diablo IV should consider. Much detail, melodic development and make clear what the identity of each location is (either with the chords, scales, melodies it uses. Or the sound/material textures to which it resorts). Recall that Blizzard recognizes in his games an aesthetic common value, which is the feeling that everything is handcrafted, and music should not be left out of that philosophy.

And well .. already closing this small opinion/analysis, and having taken out what I had inside, I have high expectations with this game and I hope that all the love that the team is devoting to the development of Diablo IV, is also reflected in its music (not only that of the trailer, which is incredible), and that in some way they consider doing their own analysis with the music of Diablo II, that not for nothing won the prize for the best audio in GDCA in 2000. I will be delighted to read your thoughts also about the music of Diablo II and how it should be Diablo IV's.

Greetings to all and thanks for reading.
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